This 1998 CD (available here as Elektra / Asylum 22109) takes a wilder swing at updating John Dowland than ECM’s subsequent In Darkness Let Me Dwell would, so its “fixes” are more fun for the Dowland admirer.
Hard on the instrument and on the players, Beethoven’s piano-four hands transcription of his Grosse Fuge is also hard to find.
Utrecht’s Rosa Ensemble is another of the category-crossing bands that renders the New Music scene in Holland so vital.
The opening cut, Bley’s solo rendition of “Touching,” distills the pianist’s art — pedaling that turns notes into sculpture, leaping figures suddenly dropped, looming spaces.
Cole’s highlights package hasn’t been assembled with great care, but it does lend an old fan the excuse to spill some opinions.
These records influenced the course my listening subsequently took. Their CD versions are new to me, and fifteen years have passed since I last lowered a stylus. Can one look back without disappointment?
Diddling with Bach has been old hat for more than a century, and lately I’ve sighted Goldbergs from accordion, brass quintet, cathedral organ, jazz trio, overdubbed guitars, and several string ensembles.